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Film/TV Film/TV/Etc. Blog

Indie Memphis 2018 Friday: MIA, Diana Ross, and Negro Terror

After a gala opening at the Halloran Centre Thursday night, Indie Memphis moves to Overton Square on Friday. The schedule is packed with great stuff beyond what I could fit into this week’s cover story about the festival. 

Madeline’s Madeline (1:10 PM, Studio on the Square) is an acclaimed, visually inventive film by director Josephine Decker, who won the Craig Brewer Emerging Filmmaker Award at Indie Memphis 2014.

Indie Memphis 2018 Friday: MIA, Diana Ross, and Negro Terror

She began as a refugee from Sri Lanka, and ended up playing on the world’s biggest stages. Matangi/Maya/MIA (3:40, Studio On The Square) is a documentary about the fascinating life of political dance pop musician M.I.A.

Indie Memphis 2018 Friday: MIA, Diana Ross, and Negro Terror (2)

The festival’s first world premiere is Diego Llorente’s Entrialgo, a beautiful vérité documentary about life in rural Spain.

Entrialgo || trailer from diego llorente on Vimeo.

Indie Memphis 2018 Friday: MIA, Diana Ross, and Negro Terror (3)

The second world premiere of the day is Shoot The Moon Right Between The Eyes (6:30, Studio on the Square). It’s a musical by Austin, Texas director Graham L. Carter that sets the music of John Prine amidst a story of a pair of small-time grifters who meet their match in a strong willed widow. It’s inventive, heartfelt, and a little rough around the edges, which is totally appropriate for a film that takes inspiration from Prine’s lyrics.

Shoot The Moon Right Between The Eyes [Official Trailer] from Graham L. Carter on Vimeo.

Indie Memphis 2018 Friday: MIA, Diana Ross, and Negro Terror (4)

At 6:30 at Playhouse on the Square, the Hometowner Documentary Shorts bloc features films from Memphis artists, including Lauren Ready, Jason Allen Lee, and Klari Farzley. Best of Enemies director Robert Gordon and producer Kim Bledsoe Lloyd’s film “Ginning Cotton at the Dockery” tracks down the men and women who worked at the last functioning cotton plantation in Mississippi. Memphis musician Robbie Grant makes his directorial debut with “Ben Siler Gives Ben Siler Advice,” in which Memphis filmmaker and Flyer film contributor Ben Siler meets a younger Memphian named Ben Siler and tells him how the world works. It pretty much does what it says on the box, in two hilariously depressing minutes.

At 9:10, there’s a genuine only-at-Indie Memphis moment. Mahogany is a 1975 star vehicle for Diana Ross, directed by Motown impresario Berry Gordy (and a couple of ringers). Also featuring a smoking turn from Billy Dee Williams in his prime, and a smash hit number one song from Ross as a theme, it’s a 70s classic. To illustrate the depth of the Mahogany cult, the film will be proceeded by “Mahogany Too,, a short film shot on Super 8 by Nigerian filmmaker Akosua Adoma Owusu that is a lighting retelling of Ross’ film, featuring Nollywood star Esosa E.

Indie Memphis 2018 Friday: MIA, Diana Ross, and Negro Terror (5)

At 9:10 on the big stage at Playhouse On The Square, an experimental documentary about Memphis’ most radical band makes its world premiere. In Negro Terror, director John Rash maintains a light touch, focusing on the sights and sounds of the hardcore punk band’s legendary stage show, and the words of the band’s three very different members, led by Omar Higgins, an anarchist Hari Krishna devotee who is a longtime member of Skinheads Against Racial Prejudice (SHARP). In what is definitely a first for Indie Memphis and probably a first for just about anywhere, the band will provide a live soundtrack for the film about them as it premieres.

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Music Music Blog

The Dreamers’ Field Chronicles Hopeful Band, Premieres at Indie Memphis 2018

Noam Stolerman

The Field People

Israeli band the Field People, a rock-and-roll three-piece made up of Aviv Lavi, Yogev Hiller and Evyatar Baumer, never got a break back home, so they moved to London to pursue a dream. It was as much about freedom as about music. Their name even pokes a bit of fun at their humble origins: “The Field People,” as in farm boys straight outta the kibbutz. The Field People found, if not fame, then at least a more welcoming reception in London, and a month after they landed, fellow Israeli artist and former classmate and then-film student Noam Stolerman joined the trio to record their progress. Whether they made it big or collapsed under the weight of their hopes and expectations, Stolerman would be there to get it all on tape. Stolerman’s chronicle of his friends’ shot at stardom became The Dreamers’ Field, screening Sunday, November 4th, and Thursday, November 8th at Indie Memphis Film Festival.

“In Israel, you get the feeling that everyone who doesn’t come from Tel Aviv comes from
a really small town,” Stolerman says. “The main reason I wanted to make this film is that these guys feel like they don’t belong. And everybody gets that feeling sometimes.” Stolerman says he felt simpatico with the Field People. He understood the desire to be bigger than one’s origins, to dream a way out of their current circumstances. But, unlike his musically inclined friends, Stolerman says he lacked the courage to pack it all up and just go. That is, until the Field People gave him a reason to throw caution to the wind. “I’m going to go with these guys and live their dream,” Stolerman says. If they succeeded, well, maybe that meant he could as well. If not, then at least he would be there to capture the experience.

“I know one of them from high school. He’s a really good friend,” Stolerman says of his
longtime friend and Field People drummer Aviv Lavi. Stolerman says he remembers Lavi talking rapturously about his band, almost the way a soon-to-be-betrothed man might talk about the woman of his dreams. Stolerman remembers Lavi saying, “This is it. This is the one. This could be my big break and my ticket out of the kibbutz and out of Israel.” And that sentiment may be the key to understanding both the Field People and The Dreamers’ Field. Both the band and the film about them are products of a desire for something more, a hope for escape from the everyday.

“This is not a film about music; this is a film about people,” Stolerman says, laughing as
he admits that even he falls into the trap of calling his character-driven documentary a
rockumentary. “They used music as a form of escape. [They’re like] lost souls. Sure, the music brought them together, but if it wasn’t music, it would have been something else.” Stolerman remembers feeling alienated, even while attending the Minshar Film School in Tel Aviv. The longing for something more, perhaps the most universal of feelings, propelled first the Field People and then Stolerman almost 5,000 miles from home. With challenges and uncertainty as their only guarantees, they took the leap. And there were certainly challenges.

“I had an incident with the police in London,” Stolerman says, laughing. The director was
filming without a permit in the London Underground when he was detained by the police. He describes being held for an uncomfortable amount of time, being questioned, and finally being released on the condition that he would never film in the Tube again. The director returned later that day to finish filming the scene. Stolerman shot almost the entire film himself, and did most of the editing. With almost no funding and only himself to rely on, every hour of footage was valuable. “It’s the most indie, guerrilla film making you can imagine,” Stolerman says, describing a ’70s punk ethos, where attitude and heart are valued over technical proficiency. That attitude is equally descriptive of both the film itself and the band. “I saw people say, ‘This is not that good. They’re not great musicians, but they have heart.’”

And speaking of heart: “The heart of the film lies in the second half,” Stolerman says.
“They’re starting to lose their way, and they’re having a really hard time living with it.”
Stolerman, who faced financial and legal challenges as well as the challenges inherent in being separated from his family for so long, remembers asking himself, “Why am I holding this camera? Who’s going to watch this?” But Stolerman’s fears were for naught. In addition to two showings at Indie Memphis 2018, The Dreamers’ Field was selected for a screening earlier this year at Solo Positivo Film Festival in Šibenik, Croatia. Stolerman, whose short film “Yehoshua” has also been shown in international film festivals, is building his own field of dreams — a little bit at a time and through sheer force of will.

The Dreamers’ Field screens as part of Indie Memphis Film Festival, with its U.S. premiere, with director Noam Stolerman in attendance, at Studio on the Square, Sunday, November 4th, with an encore presentation at Ridgeway Cinema Grill, Thursday, November 8th, at 6:30 p.m.

Categories
Politics Politics Beat Blog

Bredesen Says Senate Race is “Knife Edge” Affair, Takes Election Commission to Task

JB

Speaking to supporters at Railgarden, former Governor Phil Bredesen appeals for a good turnout at the polls. 9th District Congressman Steve Cohen (l) was one of several Democratic officials attending the Thursday lunch, which was hosted by Shelby County Mayor Lee Harris.

With only days to go before final votes are cast on November 6, former Governor Phil Bredesen made it clear that he is counting on a good turnout in Shelby County to bolster his bid for the U.S. Senate seat being vacated by incumbent Republican Bob Corker.

Bredesen, the Democratic nominee, is opposed by Republican nominee Marsha Blackburn, currently the U.S. Representative of Tennessee’s 7th congressional district. Speaking at a luncheon at Railgarden, he said he thought there were enough Democrats, independents, and independent-minded Republicans in Shelby County to help him across the finish line, but “it really is about turnout.”

But it wasn’t just the numbers and availability of voters that he considered important. Asked about various charges and counter-charges involving the Shelby County Election Commission, Bredesen seconded in general the concerns expressed by local Democrats.

“I do think that the Shelby County Election Commission, from what I’ve seen, needs to gets its act together here, and I hope they can put some time and energy to it by next Tuesday,” said Bredesen, who continued without referring to specific controversies. “There have been some issues coming up that don’t exist in other places. I think they should make sure that everybody who is supposed to vote gets to vote and the results are put out in a timely fashion without politics going on. They’re certainly capable of doing that.”

The former Governor said that, as he had anticipated, “the election is very close, on the knife edge, and I think — I certainly hope — I’m on the right side of the edge.”

Bredesen went light on specific issues, though he mentioned health care as a problem transcending ideological positions. “Social Security and Medicare are not Democratic laws. They are American laws,” he said.

As he has stated in his previous public statements and in ads on his behalf, Bredesen made it clear that he intended to avoid taking purely partisan positions, either in his campaign or in office if elected. “I still have this high-school civics view of our government,” he said. “The job of leadership is not to divide each other, but to find common ground.”

Making a point of lamenting the attack-ad nature of the Senate contest and other campaigns these days, he said, “I hate what is going on. It‘s not what the founders intended.” He defended both his recent statement that he would have voted to confirm President Trump’s nominee, Brett Kavanaugh, for the Supreme Court, and a TV ad in which he suggested working closely with the President, “a skilled negotiator,” to bring down drug prices.

“I think people across the spectrum do not want people of one party or another,” he said.
“I believe fundamentally in working together.”

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News News Blog

Ed Helms Joins Fight to Save Instant Runoff Voting

Ed Helms Joins Fight to Save Instant Runoff Voting

Actor and comedian Ed Helms jumped into the Memphis election fray with a video criticizing local politicians for trying to eliminate instant runoff voting.  

Oscar winner Jennifer Lawrence appeared in a similar video last month.

Here’s what the local Save Instant Runoff Voting said about the Helms video:

“Ed Helms, comedian and actor, borrows the voice of Memphians who support voting against all the November (referendums).

“With just five days to go, we’re in a race to stop the city council from tricking voters into undoing the will of the people. We already passed Instant Runoff Voting, and this is our chance to stop politicians from overturning the voters.”

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Intermission Impossible Theater

Nightmare Before Christmas: Tennessee Shakespeare Closes Macbeth

Tennessee Shakespeare Company

Michael Khanlarian (Banquo), Paul Kiernan (Macbeth), and the Witches. Through Nov. 4.

Hard as it may seem to believe, winter is coming. It won’t be long before area playhouses roll out stock scenery and turn their attention to holiday favorites. Theatre Memphis opens The 25th Putnam County Spelling Bee this weekend. And there are still a few more opportunities to catch Agatha Christie’s enduring mystery The Mousetrap at Germantown Community Theatre. But if there’s anybody out there who’s not quite ready to put Halloween away just yet,Tennessee Shakespeare Company performs Macbeth through November 4th.

Shakespeare’s witchy meditation on ambition and evil is directed by TSC’s founder Dan McCleary and performed by a company of nine actors. How dark do things get? Here’s what McCleary had to say via the TSC website:

“The witches are our masked Chorus, and a sacrifice is offered to cleanse a world of crimes against humanity. The sacrifice is a man who Shakespeare clearly defines as noble, generous, un-ambitious, indecisive, overly kind, incapable of lying with skill, morally incapable of imagining his own corruption or wrong-doing, courageous, patriotic, regretful, and a good husband and friend. Macbeth is the best of us. What is horrific is that we might be able to explain how he becomes the very worst of us.”

 

Very scary.

Thursday night’s performance is Free Will Kids night. That means up to 4 kids (17 or under) are admitted with one paid adult ticket. 

Tennessee Shakespeare follows Macbeth with a  large cast production of  As You Like It Nov. 29-Dec. 6

General Admission tickets are $39. Performances are Thursday-Saturday at 7 p.m., and Sunday at 3 p.m.

Categories
News News Blog

Memphis Pets of the Week (Nov. 1-7)

Each week, the Flyer will feature adoptable dogs and cats from Memphis Animal Services. All photos are credited to Memphis Pets Alive. More pictures can be found on the Memphis Pets Alive Facebook page.

[slideshow-1]

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News News Blog

UPDATED: TVA Meeting to Focus on Coal Ash Ponds

A coal ash pond at TVA’s Allen Fossil Plant.

UPDATE: Scott Banbury, Conservation Programs Coordinator for the Tennessee Chapter of the Sierra Club, said little notice was given about Thursday’s Tennessee Valley Authority (TVA) meeting and “the public was given no opportunity to express themselves.”

Here’s his statement in full:

“TVA seems to believe that this state ordered Environmental Investigation Plan is somehow separate from the state-ordered Remedial Investigation plan in regards to the arsenic and other pollutants that are leaking from their ash ponds and potentially threatening the Memphis Sand Aquifer.

They (TVA) are working on a new (National Environmental Policy Act) Environmental Impact Statement (that I thought would be discussed tonight, but wasn’t), where in they will propose digging up and re-interring (shipping elsewhere) all of the ash in the east pond (and maybe the west pond) that might pose a risk to our drinking water, but they (TVA) have gone out of their way to keep these things separate and leave it to us (Sierra and Protect Our Aquifer) to make the connections between the different ‘studies’ underway.

This is inherently unfair as neither the Sierra Club, nor Protect Our Aquifer, has the staff to match TVA in this regard. TVA has multiple public relations professionals and other staff to work these topics, while Sierra and Protect Our Aquifer have only me and (Protect Our Aquifer president Ward Archer).

The public was given no opportunity to express themselves. There was little to no public notice about the meeting. The only public notice was put out by Sierra and Protect Our Aquifer.”

ORIGINAL POST: The Tennessee Valley Authority (TVA) will host an open-house-style meeting Thursday evening so the public can view and comment on an upcoming environmental investigation of the utility’s coal ash ponds here.

For years, TVA burned coal to fire at the now-shuttered Allen Fossil Plant, the city’s energy source. Ash from that coal was stored in two ponds at the Allen site.

In 2014, the federal Environmental Protection Agency (EPA) made new rules on the safe disposal of coal ash, from coal-fired power plants. In 2015, the Tennessee Department of Environment and Conservation (TDEC) enforced the federal rule here, mandating a review of TVA’s coal ash ponds at seven sites across the state.

TVA will review its plan for the Allen site with the public on Thursday evening.

Scott Brooks, a TVA spokesman, talked to us about what people can expect at the meeting (and what they shouldn’t expect). He also talked about three different environmental testing processes happening at the Allen site now. — Toby Sells

Scott Brooks: We have three operating processes that either are or soon will be going on out at (the site of the Tennessee Valley Authority’s Allen Fossil Plant).

What will be covered in the meeting is an environmental investigation plan (EIP), which is basically a brand new process that we’re doing at seven of our coal sites in Tennessee under a (Tennessee Department of Environment and Conversation, TDEC) order.

That includes two sites where we don’t even have plants anymore. At John Sevier and Watts Barr, we’ve torn those plants down, but we still store coal ash on those sites. 

This order from TDEC is a very comprehensive investigation we’re going to be doing at all seven sites.

Allen will be the seventh of seven open houses. This is the last one.

Memphis Flyer: When did TDEC make the order?

SB: 2015. It was essentially their enforcement of the (Disposals of of Coal Combustion Residuals) rule.

What we’re going to be looking at is the potential impacts and risks of CCR — coal combustion residuals — at all seven of those sites, including Allen. The investigation is going to be very comprehensive.

It’ll include everything from groundwater, to bugs, and fish, and getting a good solid characteristic of the coal ash out there. How much is there? Is it, indeed, confined to where we think and expect that it will be? Basically, we’ll be letting science give us answers to a lot of the speculation and rhetoric that’s been out there for our coal operations for years.

MF: Interest in the coal ash ponds here at Allen is really heightened by the discovery of toxins close to one of them and the potential for those toxins to leak into the Memphis Sand Aquifer.

SB: We have three separate processes [going on at the Allen site]. One is this environmental investigation.

The second is…what are we going to do about the arsenic? We have a very good idea now about the characteristics of where and how deep and where that arsenic contamination is. So, now TDEC just has to give us approval for how they want us to remove it.

That’s separate from (the public open house on Thursday evening). That will be coming, hopefully, in short order. That’ll involve some kind of removal. It could be pump and treat; that’s one option. But that’s in TDEC’s hand right now. There will be a board (Thursday) night explaining where that process is.

The third is…what do we do with the coal ash? We’ll be doing a separate NEPA (National Environmental Policy Act) process, which is looking at the potential environmental impacts of all of the options over there. The main ones being, closure in place, closure by removal, and no action. When you’re doing NEPA, “no action” is usually your baseline. If we do nothing, here’s what could happen or won’t happen.

So, we’ll be looking at both the east and west ash ponds and the chemical pond out there for (closure by) removal is or (closure) in place. That’ll kick off…the date’s been a little fluid but it should start in the next month or two. Again, that will be a public process. We’ll put something out there on looking at the options and getting feedback all along that process.

MF: What else?

SB: The way this meeting will be set up and the way the other six have operated is that it’s an open-house format. That means no presentation, no microphone. You walk around and we’ll have about three dozen posters and experts who can speak to every part of the EIP and the process.

The posters will include what we’ve already done and what we’re proposing to do. Again, there will be about three dozens of them with experts on hand to answer questions. It’s more of an informal conversation format. That’s why we’re calling it an open house.

MF: So, it won’t really be a time for citizens to stand up and voice their opinions in a public meeting format.

SB: We do want to know what people think. But what we need is for it to be captured in writing. They can do that at the meeting or they can do that right now online. On TVA’s website, there’s a TDEC order page with all the comment periods that are still open. On Allen, the public comments period started I think on October 15th was the open date for 45 days.

They can go online right now and view the draft EIP as well. It’s not necessarily light reading. It’s meant to be very comprehensive and very detailed. Again, we want science to tell the story at all seven of the sites in Tennessee.

What will come out of this is, after the comment period, TDEC will take those comments and see if anything needs to be tweaked in the proposed plan and, then, they’ll give us a final version. Then, they’ll say “start your work.” There will be about an 18-month testing investigation process where we’ll put all the wells in we need to put in and do the sampling we need to do. A lot of the sampling will be done multiple times so that you catch seasonal changes and weather changes and things like that.

After the 18-month period, there will be another comment period. Once all the results are in and if something needs to be corrected, then the public has an opportunity to weigh in whatever that correction looks like.

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News News Blog

Lyft to Provide Free, Discounted Rides on Election Day

Lyft


Lyft will offer free and discounted to the polls on Election Day, Tuesday, November 6th in Memphis and across the country.

“At Lyft, we’re working to improve lives by connecting people and their communities through the world’s best transportation,” the company states on its website. “This Election Day, we want to help people across America exercise their right to vote.”

In 2016, more than 15 million people were registered to vote, but didn’t because of transportation issues, according to a study done by the Center for Information and Research on Civic Learning & Engagement. Another study done by the Pew Research Center showed that almost half of nonvoters lived in low-income, under-served neighborhoods.

For this reason, Lyft is offering riders a 50 percent discount, up to $5 for rides to the polls. In partnership with Vote Latino, Faith in Action, League of Women Voters, and other nonprofits, the company will provide free rides in under-resourced areas.

The promo code for the Election Day discount can be found on Buzzfeed.

In preparation for Election Day, Lyft also plans to:

• Remind Lyft passengers about voter registration deadlines using various social media and platform tools

• Give drivers voter registration handouts and key voter information at Lyft hub locations

• Offer in-office voter registration for employees at our offices

• Offer comprehensive, online voter information through our partner organizations

• Encourage the community to make a plan in advance for Election Day, which has a proven impact on voter turnout rates

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Letter From The Editor Opinion

Waiting on Judgment Day

I lived in Pittsburgh for nine years. I know Squirrel Hill well. It’s a storied neighborhood of big sycamores, winding streets, and lovely old houses. It’s near Carnegie-Mellon University and the University of Pittsburgh, where I used to spend a couple evenings a week teaching writing to eager and not-so-eager freshmen. It’s close to WQED, where I used to work, editing Pittsburgh, the city’s magazine. Fred Rogers worked in the same building and lived nearby. I used to drink and eat at the Squirrel Hill Cafe, aka the “Squirrel Cage,” a great old neighborhood bar.

So when the news of a shooting at the Tree of Life synagogue appeared on my laptop last Saturday morning, I didn’t have to imagine the scene; I could easily visualize it. The latest episode of the American Horror Story was playing out in one of my old haunts — just as it’s played out in Las Vegas, Charleston, Parkland, Sutherland, Texas, and 151 other American hometowns since 2016. Just as it also played out in Kentucky, last week, and in Florida, where a would-be assassin attempted to kill two former presidents and a host of other notable Democratic politicians with pipe bombs.

The Squirrel Hill Cafe | Facebook

America is infected with hate and violence, and the disease is spreading. Most presidents, when they have seen a divide in the country, have sought to heal it. This president sees the divide and seeks to exploit it. Polarization and rage have become the new normal, and it’s coming from the top down.

Can we change course? Yes, but it’s going to take dedication and commitment and time and unrelenting activism — the kind of citizen involvement that drove the civil rights movement and stopped the Vietnam War — the kind of activism that jams the gears of power and changes the country’s direction. As Patti Smith sang, “the people have the power.” We just have to tap it.

It’s easy to be cynical, but if you doubt the power of activism, I point you to Memphis, Tennessee, where in just the past couple of years, activists have stopped the city council from letting the Memphis Zoo take over Overton Park’s Greensward for parking; brought down Confederate statues in city parks; stopped the TVA from drilling wells that would tap our precious aquifer; joined with ACLU to stop the Memphis Police Department from surveilling citizen activists; and halted (as I write this) the city council from using tax-payer funds to promote three self-serving ordinances.

That doesn’t include the women’s marches, the Black Lives Matter march on the I-40 bridge, the marches against this administration’s inhumane immigration policies, and numerous other citizen-led movements. The pot has been stirred. The people are woke. And we are a week away from judgment day — or, better said, the first judgment day, for this will not be a quick change.

I do not for a minute allow myself to believe there will be a magical “blue wave” that will transform the country’s zeitgeist next Tuesday. I do believe there will be gratifying and surprising victories, just as I believe there will also be depressing and frustrating defeats. But I am hopeful the pendulum has swung as far as it can toward “nationalism” and the open promotion of ethnic hatred and divisiveness. And I am hopeful the plague of angry male white supremacists wreaking havoc and terror on innocent Americans on a weekly basis can be stopped, or at least forced back into the sewers from whence it came.

After the attack on the Tree of Life, the Pittsburgh Muslim community immediately offered aid and comfort to their Jewish brothers and sisters. That is America at its best, and it’s who we can be if we resist seeing each other as “globalists” or “nationalists” or “bad hombres” or “Fake News” purveyors or “Pocahontas” or whatever other hate-boxes the president seeks to put us into. I believe Americans are better than the president thinks we are. We just have to show it. Starting next week.

Categories
Music Music Features

Bela Fleck Brings Exotic International Trio to GPAC

Collaboration has been an essential element in the distinguished careers of master musicians Béla Fleck, Edgar Meyer, and Zakir Hussain, each of whom has achieved iconic status on his respective instrument: banjo, double bass, and tabla.

An intriguing scenario emerged when Fleck and Meyer — whose musical relationship goes back 35 years to their days on the New Acoustic Music pickin’ circuit — reached out to Hussain to help compose a triple concerto commissioned by the Nashville Symphony to commemorate the grand opening of its new home, the Schermerhorn Symphony Center, in 2006. This cross-cultural dream team yielded a Grammy-nominated recording, The Melody of Rhythm: Trip Concerto & Music for Trio, in 2009, and the trio realized their collaboration was a particularly fruitful one.

“In the case of Edgar and Zakir, I feel that there is still so much left for us to do,” Fleck wrote in a response to questions sent ahead of the trio’s sold-out Friday show at the Germantown Performing Arts Center. “We have not squeezed all the juice out of it.”

Alan Messer

Bela Fleck

Hussain, the son of Alla Rakha, a longtime tabla accompanist to sitar icon Ravi Shankar, was born in Mumbai, India, and has played in famed collaborative projects such as Shakti (with Mahavishnu Orchestra guitarist John McLaughlin) and Planet Drum (with Grateful Dead percussionist Mickey Hart). He stressed that this trio’s creative success is built on deep personal chemistry.

“We first came together as composers who were going to write this piece for a symphony orchestra to play,” he says by phone from his home in Marin County, California. “[Playing as a band] came together over a period of time. What was interesting is our relationship as friends really grew, and our families got together and socially we were hanging out together a lot, and I firmly believe that is the reason we are able to make music like we do, with such comfort and ease.”

Fleck, 60, says he became fascinated with Indian classical music and music theory during a State Department-sponsored tour of India in the 1980s with his acoustic ensemble New Grass Revival. “It was clear that there was quite a lot that naturally could be assimilated into my musical consciousness,” he says. “The math is immediately usable to build new ideas, and also to understand the ideas I was already having.”

The trio lately has been augmented by a fourth member, Rakesh Chaurasia, who plays a bamboo flute called the bansuri that, like Hussain’s hand drums, is common to Hindustani (North Indian) classical music. His uncle, Hariprasad Chaurasia, now 80, is a renowned virtuoso on the bansuri who has recorded with Hussain and even contributed to “The Inner Light,” a 1968 Beatles track.

“Rakesh is a worthy successor to Hariprasad, and probably finest Indian flutist at the moment,” says Hussain. “One thing about young Indian musicians today, they not only grow up learning Indian music but simultaneously learn about all music around the world.”

Fleck says the group is performing compositions that incorporate Chaurasia’s flute melodies and the plan is to record another album as a quartet. “Rakesh is the new wild card,” he says, “who will alter all of us by his contributions.”

The group setting for Friday’s GPAC show might seem unfamiliar to fans who have seen Fleck play with his futuristic jazz-fusion combo the Flecktones or who caught his 2015 Beale Street Music Festival acoustic set with wife Abigail Washburn, but he says he thrives on such variety.

“It’s like playing different games, really,” he says. “If you get tired of Monopoly, you can play Sorry. Most of the music I play has improvisation, but the improv may have different rules. It keeps your mind alive and responsive. Life will change on you whether you want it to or not, so you better be prepared to respond to the challenges!”